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FRONTERA STREET

Name: FRONTERA STREET
Author: Tanya Maria Barrientos
ISBN: 0-451-20635-5

by Tanya Maria Barrientos ‧ RELEASE DATE: July 2, 2002

More a vivid portrait of a culture and a place than a gripping narrative.

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A strongly detailed if sometimes overwrought first novel about an Anglo woman who crosses boundaries—physical, emotional, cultural—when she moves in with a Mexican family.

Though the storyline depends far too much on coincidence and ghostly interventions, the Guatemalan-born Barrientos (now a staff writer at the Philadelphia Inquirer) renders the life in a small west Texas bordertown very well indeed. Dee, who was raised in the affluent Anglo suburb of Westside, is 28 when her husband dies suddenly from an aneurysm. She returns home, where her widowed mother, wanting to travel, gives Dee her house and leaves. Lonely and depressed, Dee finds work in the barrio in a fabric store. Coworker Alma resents her because she’s a gringa—and that, for Alma, means trouble: In Mexico, Alma had been seduced by a gringo, Paul Walker, who abandoned her after she bore their daughter Socorro. The later story of how Dee moves into Alma’s house on Frontera Street and not only finds a family but changes Alma’s life as well is narrated by the two women and the now-15-year-old Socorro. When Dee, pregnant, collapses at work, a reluctant Alma takes her home, and Dee is soon reveling in the warmth of the barrio. She tries to help out as much as she can, but she doesn’t tell Alma that she’s from Westside, which will make for complications: Alma, who once worked there, was accused of stealing by a Westside matron. Alma also worries that ballet dancer Socorro, on scholarship at the Arts High School there, is being drawn into that alien world, and now Socorro wants to meet her father. Meanwhile, Dee must contend with crises—the surprise appearance of Socorro’s father at her coming-out ball, confessions about her own Westside upbringing—that strain the friendship almost to the breaking point.

More a vivid portrait of a culture and a place than a gripping narrative.

Pub Date: July 2, 2002

ISBN: 0-451-20635-5

Page Count: 272

Publisher: NAL/Berkley

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 15, 2002

Categories:

LITERARY FICTION

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HOUSE OF LEAVES

by Mark Z. Danielewski ‧ RELEASE DATE: March 6, 2000

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...

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An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.

Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.

Pub Date: March 6, 2000

ISBN: 0-375-70376-4

Page Count: 704

Publisher: Pantheon

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 1, 2000

Categories:

LITERARY FICTION

- BOOK REVIEW
THE LITTLE BLUE KITE
by Mark Z. Danielewski

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by Mark Z. Danielewski

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HONEYSUCKLE & PAIN
by Mark Z. Danielewski

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THE SECRET HISTORY

by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992

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The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.